CHOPIN 113

those containing black notes and ending with C
major. As studies, he held dementi's " Preludes
and Exercises " in high esteem ; then he gave
his pupils the same author's " Gradus," then the
studies of Cramer and Moscheles. For the de-
velopment of the interpretative sense, Chopin
chose works from Dussek, Mozart, Handel,
Beethoven, Weber, Mendelssohn, Hiller, Schu-
mann and from Bach's " Forty-eight." No pupil
of his could overlook the importance of phrasing.
His own phrasing was founded upon the principles
of vocal style, and, except to obtain a special
effect, he was never heard to break up an episode
into short sentences. The technique which was
necessary for the singing of a Bellini aria was
equally necessary for the performance of the
pianoforte music he chose for his pupils, especi-
ally his own compositions.

To turn for a moment to this more active side
of Chopin's life affords a welcome relief. But if
we would truly follow the course of his existence
we must walk again among the shadows. There
is a pathetic contrast between Chopin the teacher
and Chopin the regular invalid of George Sand's
establishment. After the Paris concert of 1842
the routine of life continued. The remainder of
the winter was passed in Paris ; the summer at
Nohant During that summer Delacroix was
also a guest, and in each increased an admiration
for the other man. Delacroix wrote : " From time
to time there are wafted to you through the
window opening on the garden, bursts of Chopin's

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